A
native of San Francisco, Ken Delmar studied under Harold Christensen and
Roberta Meyer at the San Francisco Ballet School. At the age of 13, he
became the protege of Richard Gibson. During his teenage years, he was
the principal dancer with the Peninsula Ballet Theater and "the wonderkind"
of the Bay Area. At 16 years old, Ken received an invitation from the Bolshoi
Ballet to tour the U.S. with them, and to study in Moscow afterward.

Ken
gave private performances for Rudolf Nureyev & Margot Fonteyn, and for Princess
Grace of Monaco at her palace.

Beginning
in 1990, Ken passionately embraced the Tango, studying extensively in Argentina
under the most renowned Tangueros. Since that time, his success with the
tango has mirrored his prior successes in the world of ballet. In
1995, he was awarded 2nd Place in the Buenos Aires Radio Tribu Tango Contest,
an unprecedented achievement for an outsider. He went on to win the Supreme
Dance Award at the California Winter Festival. In 1999 to 2000, Ken introduced
Argentine Tango to four Hawaiian Islands. During the 1990's, Ken founded the
five most important milongas (Tango Parties) in San Francisco: Mission Blue
Milonga, Monte Cristo Club, Studio 435 Broadway, Verdi Club and Tango Soma at
Studio Gracia. In addition, he was the founder of the Argentine Tango Programs
at the Metronome Ballroom and Studio Gracia.

"There
were no budding Nureyev's on view in the performances, yes, come to think of
it, perhaps one, Ken Delmar, is a micro-Nureyev with a sense of style, marvelous
coordination, and an enviable ability to move gracefully and manfully. In
the familiar impressionistic ballet 'Afternoon of a Faun', he is the bare-chested,
sensual spirit playing the Nijinsky role. In an angular, expressionistic
modernism called The Door, a la Jerome Robbins, he is the lover-flame who dries
his moth-love to immolation."

Oakland Tribune

"Ken
Delmar danced the Peasant Pas de Deux from Giselle with compelling virtuosity.
His stage presence is spellbinding and his technique is sure and strong."

San Francisco Chronicle

"Everything
considered, [the show] was marvelous... especially the brilliant Ken Delmar
in the Peasant Pas de Deux of Giselle... . Delmar is very special indeed."

San Francisco Chronicle

"The
Faun, danced by Ken Delmar, was animal and mortal, child and man, an amazingly
subtle amalgam. And the duet for Delmar and Gretchen Stock was choreographed
and danced like the vibration from a plucked harpstring."